Chopin turned the Scherzo into a new form of piano composition: an independent virtuoso work which he laced with drama, Polish folk song, tranquility and nuance. With their rhythmic lilt and filigree ornamentation the Impromptus are infused with Romantic freedom, while the Allegro de concert, Op. 46 was originally conceived as a movement for a projected piano concerto but was instead revised for solo piano. Mao Fujita was awarded Second Prize at the 16th International Tchaikovsky Competition in 2019. A laureate of numerous national and international competitions such as the World Classic in Taiwan (2010, first prize in the junior section), the Rosario Marciano International Piano Competition in Vienna (Austria, 2013), the Zhuhai International Mozart Competition for Young Musicians (2015), the Gina Bachauer International Young Artists Piano Competition in (USA, 2016) and many others. In 2017 he won the first prize as well as three special prizes at the Concours International de Piano Clara Haskil in Switzerland. In October 2019, Fujita made his UK debut with the Mariinsky Orchestra conducted by Valery Gergiev, which was critically acclaimed by The Times. Immediately following this success, he made his debut in Seoul and Moscow. Mao Fujita has recorded several albums under the Naxos Japan label, which include woks by Beethoven, Chopin, Mozart, Liszt and Prokofiev, among others.

Mao Fujita follows up his 'acclaimed' debut album on Sony Classical, the complete Mozart Piano Sonatas, with a similarly ambitious recording project, 'Preludes'; three complete sets of 24 preludes by Chopin, Scriabin, and 20th century Japanese composer Akio Yashiro. This album represents a fascinating exploration of three different but intricately connected worlds, each full of poetic diversity, volcanic energy and atmospheric stillness. Each of these three sets are in perfect symmetry with each other, each containing 24 short preludes, one for each major and minor key. But it is Chopin's preludes that form the axis around which these other two sets of preludes orbit. Chopin's Preludes, Op. 28 (1839) broke all expectations of the term 'prelude', elevating the form from small, often-improvised, introductory pieces to singular works in their own right, and in this Op. 28 set, presented as a spinning constellation of self-contained ideas and emotions, and some of the most enduring and loved piano pieces in the repertoire. Scriabin's Preludes, Op. 11 (1888-96) echo Chopin's set in so many ways - the number of preludes, the ordering of the keys, the concept of the prelude as a short, but significant work - but is certainly no copy, rather more a descendant, an extension, hyper expressive, each prelude an intricate miniature world of it's own. The third set of preludes is perhaps the most intriguing. A world premier recording of the 24 Preludes (1945) by Japanese composer Akio Yashiro. Taking Chopin's model even further, Yashiro creates a highly idiomatic and original work, written when only 15 years old. This is the most personal work on the album for Mao Fujita, with a relationship to the composer's widow, and presenting the work for the first time as a commercial studio recording. Or as Mao puts it, "the Chopin and the Scriabin are the fish and the rice, the base, but the Yashiro is the wasabi, just as vital, and that special kick to create something delicious."